Building a Collection #49: Ravel's Daphnis et Chloe
With recommended recordings
Building a Collection #49
Daphnis et Chloe
By Maurice Ravel
______________________
Welcome to all returning readers, and if you are just joining us on this journey covering the 250 greatest classical works of all-time, a warm welcome to you. I hope you enjoy what you find here. We are now at #49 and we encounter the first entry by French composer Maurice Ravel, and the second work on the list by any French composer after Berlioz’s Symphonie Fantastique. The piece is Daphnis et Chloe, Ravel’s longest and most symphonic composition. It is a kaleidoscopic piece full of color and contains some of the most evocative music of the 20th century.
Maurice Ravel
Joseph Maurice Ravel (1875 - 1937) was a French composer, pianist and conductor. He is widely considered to be one of the greatest French composers ever. Ravel, along with his compatriot Claude Debussy, is associated with the impressionism movement in music from the early 20th century, although it is important to point out that both composers rejected the term to describe their music.
Ravel was born in the Basque area of France, only 11 miles from the Spanish border, and his mother was of Basque descent. Even though the family would move to Paris when he was a toddler, Ravel would remain close to his mother and the Basque influence would play an important role in his music. His father was an engineer and inventor, and he enjoyed bringing Maurice and his younger brother Édouard to the factory. But Maurice showed an early inclination toward music, an interest his father fostered due to his own knowledge and education in the arts. His mother, though not educated, had an open mind about such things and encouraged his love of music.
Ravel was supported by his family to follow his interest in music, and from the age of seven he took piano lessons. Eventually he was taught by friends and pupils of such composers as Léo Delibes and Emmanuel Chabrier. Although not a prodigy, it was recognized early on that Ravel had completely natural instincts and tremendous potential. He was admitted to the finest music school in France, the Paris Conservatoire.
Ravel was determined to follow his own style and he soon found obstacles put in front of him by the conservative establishment at the school. Although he grew tremendously during his time at the Conservatoire, he was not among the better students and because he failed to win any prizes (which was how you remained a student at the school), he was expelled in 1895. Eager to experiment with form, genre, and orchestration, Ravel eventually found his own way and had the self-confidence to develop his own voice. A touchstone experience along the way was attending the Exposition Universelle in Paris in 1889 (also known as the World’s Fair) and hearing works by Russian composer Nikolai Rimsky-Korsakov, something that had a significant formative effect on the young man. By this time Ravel had already decided he was not gifted enough as a pianist to compete with the best, and so he began to focus on composition. Another important moment was meeting composer Erik Satie, who at the time was playing in cafés. Ravel quickly realized Satie’s talent and originality, and he was inspired to break new ground in similar ways.
Upon being admitted again to the Conservatoire, Ravel studied under the famous composer Gabriel Fauré. Fauré recognized Ravel’s abilities and became a supporter from that point on. However, the Director of the Conservatoire Théodore Dubois did not care for Ravel’s progressive style and did everything in his power to squash the young man’s spirit. Indeed, Ravel did not win a prize in 1900 and was thus expelled yet again from the school (though he did continue attending class with Fauré for a while thereafter).
Ravel was a key member of the so-called Les Apaches (“The Hooligans”), which I discussed in a previous Debussy post. An informal group, they were proud of their outcast status among artists of the day. Membership was fluid, but at various times included Debussy, Stravinsky, de Falla, and pianist Ricardo Viñes. The group generally amused themselves with intellectual conversations, or by performing their own works for each other at home. Interestingly, even though musicians, scholars, and music-lovers have often grouped Ravel together with Debussy under the “impressionist” label, both composers rejected that categorization. However, Ravel for his part DID consider Debussy to be an impressionist in the sense that Debussy’s work was considered more symbolic and his style was less structured, freer in form, and more spontaneous. Ravel meanwhile worked harder to craft music which fit within form, and he was less spontaneous and more painstaking in his work. Ravel often expressed his great respect and admiration for Debussy, but eventually the two would drift apart as friends with each having their own advocates and followers.
In 1910 Ravel established a new musical society, the Société Musicale Indépendente (with Fauré as President), to champion modern composers and to counter the older and more conservative Société Nationale de Musique. The newly formed society began giving concerts almost immediately featuring music from Debussy, Satie, Kodály, Ravel, and Fauré.
On a personal level Ravel apparently presented himself as confident, intellectual, and a sharp dresser with a dry sense of humor. It is believed Ravel was not confident with women owing to his small stature, and many sources claim he frequented brothels. It was known he had a few love interests, but in the end he was a lifelong bachelor and much remains unknown about his personal relationships. It is interesting to note Ravel enlisted in the first world war effort for France, and at the age of 40 served as a lorry driver in the French regiment. At that point Ravel was under no obligation to serve, and could have taken a far easier route to be sure.
As a composer Ravel persevered beyond the doubters, and even beyond some persistent criticism that his work was too much like the Russian school, or was merely a derivative of Debussy’s music. To his credit, Ravel did not seem to be discouraged or swayed by his critics, nor was he motivated by money. The only critic that mattered to him was himself, and he was a perfectionist and self-critical by nature. Ravel was known to be a thorough and exacting composer, and his style incorporated elements of modernism, baroque, neoclassicism, and jazz. But he was not a prolific composer, and it was known to take him a long time to produce something he was happy with publishing. Ravel did write pieces for piano, chamber music, two piano concertos, ballet music, two operas, and eight song cycles. He did not write any symphonies or sacred music. The typical pattern of composition for Ravel was to write a piece for the piano and subsequently transcribe it for other forms. Some of his most well-known works include Daphnis et Chloe, Bolero, Ma mère l'Oye, Le tombeau de Couperin, Rapsodie Espagnole, Pavane pour une infante défunte, Alborada del gracioso, String Quartet in F major, La Valse, and L'Heure espagnole. Of course one of Ravel’s most famous orchestrations is of Modest Mussorgsky’s Pictures at an Exhibition from 1922, far and away the most popular scoring of Mussorgsky’s masterpiece.
Daphnis et Chloe
Russian impresario Sergei Diaghilev had been making a name for himself already in Paris by the time he commissioned Daphnis et Chloe from Maurice Ravel in 1909. It was Diaghilev’s newly formed dance company, Ballets Russes, that would make him an international sensation over the following years with the premieres of Stravinksy’s ballets The Firebird, Petrushka, and Le Sacre du Printemps (The Rite of Spring). Sandwiched between those was Ravel’s Daphnis et Chloe, which premiered in 1912.
The idea for Daphnis et Chloe came from choreographer Michel Fokine, and it was a scenario derived from a fourth century (AD) Greek story from the writer Longus. Briefly the story involves a shepherd named Daphnis, and his love for the shepherdess Chloe, with a third character named Dorcon making trouble for the two. A band of pirates arrive and abduct Chloe, but the nymphs of Pan appear and the gods help to rescue Chloe. The dawn breaks and the lovers are reunited, and the ballet ends with rejoicing.
In reality the development of the production hardly brought rejoicing, as there were serious differences of opinion between Ravel, Fokine, and the set designer Léon Bakst. The work was delayed several times, and Ravel wrote to a friend “...I’ve just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night I work until 3 a.m. What complicates things is that Fokine doesn’t know a word of French, and I only know how to swear in Russian.” It seems Fokine’s vision was more sensual and erotic, whereas Ravel’s more conservative sensibilities tended to favor a cooler treatment. In my view when played for maximum effect, the music is quite erotic, perhaps more than Ravel intended. The eventual plot agreed upon was a departure from the original story, and in the meantime it seems Diaghilev almost lost interest in the project. Finally it premiered on June 8, 1912 to mixed reviews. But soon thereafter the work gained a popular following, and today is considered an essential part of the standard repertoire of classical music. Even Russian composer Igor Stravinsky, never one to throw out compliments freely, said of Daphnis et Chloe that it was “...not only Ravel’s best work, but also one of the most beautiful products of all French music.”
Ravel’s goal was to create a musical pastiche which recalled French paintings of Greece from a century earlier. In his words, “My intention in writing it was to compose a vast musical fresco in which I was less concerned with archaism than with faithfully reproducing the Greece of my dreams, which is very similar to that imagined and painted by the French artists at the end of the eighteenth century.” In truth what Ravel created was a lush landscape of sound with erotic melodies and intricate yet beautiful detail. The music also captures what is unique about Ravel’s music in terms of his style and perfectionism. There is an exotic quality which in some ways seems out of place with the ancient story, but which captures some of the spirit of the “Belle Epoque” era in France.
Ravel called the work a “symphonie chorégraphique” or choreographic symphony rather than a ballet due to the way he structured the music. He composed the piece in three larger parts, claiming it was “...according to a strict plan of key sequences, out of a small number of themes, the development of which ensures the music’s homogeneity.” In practice however, it is really ballet music. Diaghilev felt the music was too symphonic, and wanted to dispense entirely with the wordless choral parts. Ravel would have none of it, and when Diaghilev attempted to stage the piece in London without the chorus Ravel wrote an angry letter published in The Times and other publications in 1914.
The structure is as follows:
Part I
Introduction et Danse religieuse
Danse générale
Danse grotesque de Dorcon
Danse légère et gracieuse de Daphnis
Danse de Lycéion
Danse lente et mystérieuse des Nymphes
Part II
Introduction
Danse guerrière
Danse suppliante de Chloé
Part III
Lever du jour (Sunrise)
Pantomime (Les amours de Pan et Syrinx)
Danse générale (Bacchanale)
For a complete synopsis of the story, I refer you to the program notes from the Houston Symphony found here: https://houstonsymphony.org/greece-dreams-ravels-daphnis-chloe-suite-no-2/ .
The music representing the Lever du jour in the third part is some of the most famous music Ravel ever composed, and for many listeners is the lead into the best music in the ballet. Even before the work premiered, Ravel had already arranged two orchestral suites from the complete ballet which contain the majority of the best selections. You are more likely these days to hear the suites in concert rather than the complete music or the ballet. However, being the completist I am, below I have chosen to only review recordings of the complete ballet music.
Essential Recordings
Alsatian French conductor Charles Munch recorded Daphnis et Chloe twice, in 1954 and 1962, with the Boston Symphony Orchestra and the New England Conservatory Chorus for RCA. The performances are quite similar in many ways with the latter one boasting better sound quality even though they are both in stereo. However, it is the earlier 1954 recording which is essential because it has a sort of intangible quality that is irresistible. First, it should be said that one of the chief questions for recording this work is where to put the chorus for best effect. Munch and his engineers put the chorus at just the right distance where the voices have a dreamy, ethereal quality that greatly enhances the effect. There is a floating quality to the music, which is to say Munch allows lines to be sculpted and he’s not overly rigid with tempos, rhythms, and dynamics. The atmosphere that is created is almost mystical in nature and wholly appropriate for the subject. The sound has some limitations, for example it doesn’t have the depth or range of modern recordings, and there is some background hiss which is ever present. But this recording (and the two below) are both absolutely essential for anyone interested in this music.
The premiere of Daphnis et Chloe was conducted by Pierre Monteux in 1912, and the second essential recording of this work has Monteux leading the London Symphony Orchestra and the Chorus of the Royal Opera House, Covent Garden on a Decca recording from 1959. I remember being mesmerized by this recording upon first listening some years ago, and it still sounds fresh and completely idiomatic. The sound is sumptuous for 1959, captured in glowing sound from Kingsway Hall in London. The LSO play with inspiration, their playing is light and sensitive when needed, but they build tension superbly when needed as well. The brass and woodwind are especially noteworthy, and Monteux stirs things up wonderfully in the final scene and in the bacchanale. Indeed there is wild abandon here in the more orgasmic passages, and Monteux in key spots releases the reins on the orchestra. The chorus is angelic but nicely distanced to create effect, and to not intrude on the action. Monteux is masterful in controlling the moods at every juncture, and he is able to maintain the tension while also keeping the more lyrical and poetic elements in the foreground. The pirates are properly menacing, the woodwinds are seductive, and the Lever du jour is thrilling. The sound has such warmth and bloom to it, this has to be one of the greatest recordings made by Monteux.
The third and final essential recording of this masterpiece is by Charles Dutoit and the Orchestre Symphonique de Montréal and the Choeur de l’Orchestre Symphonique de Montréal, probably THE recording that put Dutoit and the OSM on the map. Recorded by Decca in 1981 in the very early digital years, the recording was a revelation in terms of its demonstration quality sound, huge dynamic range, and richly detailed colors and textures. Indeed it still sounds amazing, and fully deserves the accolades it has received over the years. Moreover, the performance itself is on a par with the two classic recordings listed above. Some reviewers have said the performance itself is nothing special, and that it is only a great recording because of the sound. I completely disagree. This is a strong interpretation, full of vitality and passion. During Dutoit’s tenure the OSM was considered the finest “French” orchestra in the world, and this recording is invaluable as a testament not only to their achievement, but also represents the best of what classical music recordings can be.
Recommended Recordings
The 1963 recording by EMI (Warner) by Belgian-born French conductor André Cluytens made with the Orchestre de la Société des concerts du Conservatoire of Paris and the René Duclos Chorus has an unmistakable “French” sound to it and I love it. The chorus is rather more forward in the picture than most versions, but there is an appealing urgency to the singing. The woodwinds have the trademark “grainy” sound redolent of a French orchestra. The recorded balance is well done so that we can hear most all instruments clearly, and the perspective is realistic. This tends to make the entire performance more assertive than otherworldly, but this carries certain advantages as well. For example the more erotic passages are given a lusty sound and the faster numbers create a lot of excitement and adrenaline. The recording has many virtues, and even with the relative lack of subtlety, it is recommended.
Few orchestras in the world enjoyed the popularity of the Orchestre de la Suisse Romande (based in Geneva, Switzerland) in the 1950s and 1960s, and under their founder and longtime conductor Ernest Ansermet they developed almost a cult following enhanced by their many recordings for the Decca label. In sampling some of their recordings I have often been disappointed that some have not held up well over time, but their 1965 recording of Daphnis et Chloe remains one of my favorite accounts of this score (the chorus is Les Chor De La Radio Suisse Romande). The orchestral textures are clear, and climaxes pack a punch. Ansermet draws out colorful playing from his Swiss orchestra, and rhythms are sharply accented. The chorus plays their role dramatically but are never indulgent and remain in the background. The pirate music, and the appearance of Pan are done superbly. Ansermet has just the right feel for this music.
The late Japanese conductor Seiji Ozawa became the music director of the Boston Symphony Orchestra in 1973, and his recording of Daphnis et Chloe from 1974 with the BSO and the Tanglewood Festival Chorus for the Deutsche Grammophon label very nearly rivals Munch and Monteux. In my opinion, Ozawa was most successful with French and Russian ballet music, for some reason the genre seemed to inspire him. Ozawa also had the BSO at his disposal, perhaps one of the greatest “French” orchestras in the world at the time. This recording sounds terrific, creating an epic sort of atmosphere in the generous Symphony Hall acoustic. Ozawa elicits sensitive, sparkling, and elegant playing while also letting the orchestra loose a few times where they provide plenty of weight. The erotic music is handled well, and there is power combined with control even when the pirates visit and in the concluding bacchanale. The Lever du jour feels just right and is appropriately wistful and evocative. Overall this is a great recommendation for newcomers to Ravel’s music.
The late French conductor and composer Pierre Boulez specialized in 20th century music, and he recorded Daphnis et Chloe twice commercially. The first one was with the New York Philharmonic and the CBS Camerata Singers from 1974, and although very interesting, it doesn’t rise to the recommended level. However, his second time around with the Berlin Philharmonic Orchestra and the Rundfunkchor Berlin from 1993 on Deutsche Grammophon is extremely good. The sound from the renowned acoustic of the Jesus-Christus-Kirche in Berlin is warm, detailed, and clear, although as several reviewers have noted the orchestra and chorus are recorded very closely which leads to some loss of atmosphere and space around the sound. It lacks the sort of ambience present in the Munch and Monteux recordings, but to be fair I quite like the forward sound and the BPO sounds glorious. In his earlier account Boulez was much too clinical and objective (a criticism often leveled at his conducting), but on the later account he is more relaxed and flexible, allowing the phrasing to flow more, and adding more dynamic tension. There is still the precision which Boulez was known for, but within a more varied and enjoyable picture. The chorus is outstanding and well-balanced, even if on occasion louder orchestral climaxes are in your face. Highly recommended.
Other Notable Recordings
Some of the recordings listed below have been critically acclaimed, in particular the final two on the list by Roth and Wilson. For me they are missing some of the magic in the score, though there are some really lovely moments. You may come to a different conclusion.
Minneapolis Symphony Orchestra / Antal Dorati (Mercury 1955)
New York Philharmonic / Pierre Boulez (Sony 1975)
Orchestre de Paris / Jean Martinon (Warner 1975)
London Symphony Orchestra / Andre Previn (Warner 1982)
London Symphony Orchestra / Claudio Abbado (DG 1986)
Ulster Orchestra / Yan Pascal Tortelier (Chandos 1990)
Royal Concertgebouw Orchestra / Riccardo Chailly (Decca 1995)
Boston Symphony Orchestra / James Levine (BSO 2007)
Chicago Symphony Orchestra / Bernard Haitink (CSO 2007)
Orchestre Philharmonique du Luxembourg / Bramwell Tovey (Glor 2009)
Rotterdam Philharmonic / Yannick Nézet-Séguin (BIS 2012)
London Philharmonic Orchestra / Vladimir Jurowski (LPO 2015)
Les Siècles / François-Xavier Roth (HM 2017)
Sinfonia of London / John Wilson (Chandos 2022)
That brings us to the end of this installment for Building a Collection. I hope you will take the time to get to know Ravel’s glorious music, it is very rewarding. Next time we will cover Ludwig van Beethoven’s Symphony no. 7 at #50 on our list. You won’t want to miss it. See you then!
_________________
Notes:
Glass, Herbert. Daphnis et Chloe (complete). Los Angeles Philharmonic Program Notes. Found online at laphil.com.
Goss, Madeleine (1940). Bolero: The Life of Maurice Ravel. New York: Holt. OCLC 2793964.
Howat, Roy (2000). "Ravel and the piano". In Deborah Mawer (ed.). The Cambridge Companion to Ravel. Cambridge: Cambridge University Press. ISBN 978-0-521-64856-1.
James, Burnett (1987). Ravel. London: Omnibus Press. ISBN 978-0-7119-0987-8.
Kelly, Barbara L "Ravel, (Joseph) Maurice", Grove Music Online, Oxford University Press, 2001 (subscription or UK public library membership required).
Moore, Ralph. Ravel’s Daphnis et Chloe. A Selective Survey of Some Classic Recordings. Online at musicweb international.
Nichols, Roger (2011). Ravel. New Haven, US and London: Yale University Press. ISBN 978-0-300-10882-8.
Orenstein, Arbie (October 1967). "Maurice Ravel's Creative Process". The Musical Quarterly. 53 (4): 467–481. doi:10.1093/mq/liii.4.467. JSTOR 741228.
Orenstein, Arbie (1991) [1975]. Ravel: Man and Musician. Mineola, US: Dover. ISBN 978-0-486-26633-6.
Whitesell, Lloyd (2002). "Ravel's Way". In Sophie Fuller; Lloyd Whitesell (eds.). Queer Episodes in Music and Modern Identity. Urbana, US: University of Illinois Press. ISBN 978-0-252-02740-6.
https://houstonsymphony.org/greece-dreams-ravels-daphnis-chloe-suite-no-2/.
"Ravel would have none of it, and when Diaghilev attempted to stage the piece in London without the chorus Ravel wrote an angry letter published in The Times and other publications in 2014." The year seems incorrect.